![\"\"](\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/8\/89\/Trenecito.jpg\")
\nOSMANLI 1773<\/p>\n
\nOSMANLI 1773<\/p>\n
\u0130slam da musiki yasakm\u0131\u015f\u2026
\n\u00d6yle diyor Taliban\u2026
\nResmetmek\u2026
\nCahil k\u00f6pekler, kendi dinini bilmeyen\u2026
\nPeygamber Efendimizin \u00fcmmetinden olamaz!<\/p>\n
„M\u00fbsiki (m\u00fczik) kelimesinin kayna\u011f\u0131 hakk\u0131nda de\u011fi\u015fik g\u00f6r\u00fc\u015fler aras\u0131nda en yayg\u0131n olan\u0131 Latince musicaya dayand\u0131\u011f\u0131n\u0131 ileri s\u00fcren g\u00f6r\u00fc\u015ft\u00fcr. Eski Yunanca\u2019daki mousik\u00e9den (mousa) geldi\u011fi kabul edilen musican\u0131n k\u00f6k\u00fc ise m\u00fcz (muse) kelimesidir. Yunan mitolojisinde Tanr\u0131 J\u00fcpiter\u2019in Tanr\u0131\u00e7a Mnemosyre\u2019den do\u011fan dokuz k\u0131z\u0131n\u0131n ad\u0131 olan \u201cm\u00fcz\u201dlerin her biri ayr\u0131 bir ilim ve g\u00fczel sanat\u0131n il\u00e2hesi say\u0131lmaktayd\u0131. Antik\u00e7a\u011f\u2019lar\u0131n sonlar\u0131na do\u011fru \u201cmus\u201d ya da \u201cmusik\u00e9\u201d dendi\u011finde sadece bug\u00fcnk\u00fc m\u00fbsiki kavram\u0131 anla\u015f\u0131lmaya ba\u015flam\u0131\u015ft\u0131r. Terim bir\u00e7ok milletin dilinde Latince\u2019sine benzer kelimelerle kar\u015f\u0131lanm\u0131\u015f, Arap\u00e7a\u2019da m\u00fbs\u00eek\u0101; Fars\u00e7a ve T\u00fcrk\u00e7e\u2019de m\u00fbsik\u00ee \u015feklinde seslendirilmi\u015ftir. M\u00fbsikinin tarih boyunca bir\u00e7ok tan\u0131m\u0131 yap\u0131lm\u0131\u015ft\u0131r. Pisagor\u2019a (Pythagoras) g\u00f6re m\u00fbsiki \u201cbirbirine benzemeyen \u00e7e\u015fitli seslerden meydana gelen konser\u201d, \u0130bn S\u00een\u00e2\u2019ya g\u00f6re \u201cbirbiriyle uyumlu olup olmad\u0131\u011f\u0131 y\u00f6n\u00fcnden sesleri ve bu sesler aras\u0131ndaki zaman s\u00fcrelerini ara\u015ft\u0131ran riy\u00e2z\u00ee bir ilim\u201ddir. Abd\u00fclk\u0101dir-i Mer\u00e2g\u012b m\u00fbsikiyi \u201c\u00eek\u0101\u2018 devirlerinden biriyle tertip edilip kula\u011fa yumu\u015fak gelen na\u011fmelerin bir araya getirilmesi\u201d, Emmanuel Kant \u201csesler vas\u0131tas\u0131yla birbirini takip eden g\u00fczel hisleri ifade etme sanat\u0131\u201d, Jean-Jacques Rousseau \u201csesleri kula\u011fa ho\u015f gelecek \u015fekilde tertip edebilme sanat\u0131\u201d olarak tan\u0131mlam\u0131\u015ft\u0131r. Dimitrie Cantemir (Kantemiro\u011flu) m\u00fbsikiyi, \u201c\u00e7\u0131kard\u0131\u011f\u0131m\u0131z seslerin \u00f6l\u00e7\u00fcl\u00fc bir zamanda bir usul\u00fcn d\u00fczenine uyarak hareket edip belirli bir yerde karar k\u0131l\u0131p durmas\u0131 ve i\u015fitme g\u00fcc\u00fcm\u00fcze zevk vermesi\u201d diye tarif ettikten sonra felsefeye g\u00f6re ak\u0131l g\u00fcc\u00fcn\u00fcn konu\u015fabilen canl\u0131lara mahsus bulundu\u011funu ve m\u00fbsiki ilminin de ak\u0131l sahibi olman\u0131n bir delili say\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6yleyerek y\u00fcce yarat\u0131c\u0131n\u0131n bu e\u015fsiz hediyesini \u00e2demo\u011flundan ba\u015fka hi\u00e7bir mahl\u00fbkata ba\u011f\u0131\u015flamad\u0131\u011f\u0131n\u0131 il\u00e2ve eder.<\/p>\n
Eski M\u0131s\u0131r, Grek, \u00c7in ve Hint gibi belli ba\u015fl\u0131 k\u00fclt\u00fcr ve medeniyetlere mensup d\u00fc\u015f\u00fcn\u00fcr ve m\u00fczisyenlerin m\u00fczi\u011fe y\u00fckledikleri anlamlar aras\u0131nda benzerlikler oldu\u011fu s\u00f6ylenebilir. Filozof ve hak\u00eem Hermes\u2019e g\u00f6re Tanr\u0131 en b\u00fcy\u00fck m\u00fczisyendir ve kozmik s\u00fcre\u00e7 onun m\u00fczi\u011fidir. Konf\u00fc\u00e7yanizm\u2019e ait metinlerde yer alan d\u00fc\u015f\u00fcncelere g\u00f6re pentatonik (be\u015f ton\/ses) sistem olarak bilinen \u00c7in m\u00fczik sisteminde m\u00fbsiki ve kozmik \u00e2henk konusunda \u201ckung\u201d sesi h\u00fck\u00fcmdar\u0131, \u201csheng\u201d sesi tebaas\u0131n\u0131, \u201ccn\u00fceh\u201d sesi halk\u0131, \u201cch\u0131h\u201d sesi i\u015f ve b\u00fcrokrasiyi, \u201cyu\u201d sesi e\u015fyay\u0131 g\u00f6sterir. Bu be\u015f unsurdaki bozukluk h\u00fck\u00fcmet y\u00f6netiminde uygunsuzlu\u011fu i\u015faret eder. Siyas\u00ee \u00e2hengin bulunmad\u0131\u011f\u0131 bir \u00fclkede kozmik \u00e2henk de bozulur. Konf\u00fc\u00e7yanizm\u2019e g\u00f6re m\u00fczik g\u00f6kle toprak aras\u0131nda bir \u00e2henktir. Gerek Hermetizm gerekse Konf\u00fc\u00e7yanizm\u2019in m\u00fbsiki konusundaki yorumlar\u0131na paralel yorumlara m\u00fczikle ilgili ilk \u00e7al\u0131\u015fmalar\u0131 yapan Pisagor\u2019da da rastlan\u0131r. Ona g\u00f6re nesneler say\u0131lar\u0131n bir araya gelmesiyle olu\u015fur. Evrenin temeli aritmetiksel orant\u0131lard\u0131r. Pisagor m\u00fczik gam\u0131n\u0131n, halen m\u00fckemmel ses uygunluklar\u0131 diye adland\u0131r\u0131lan iki ses aras\u0131ndaki perde farkl\u0131l\u0131klar\u0131n\u0131n 1, 2, 3 ve 4 say\u0131lar\u0131n\u0131n oranlar\u0131 olarak aritmetiksel bi\u00e7imde dile getirilebilece\u011fini d\u00fc\u015f\u00fcnm\u00fc\u015ft\u00fcr. Bunlar birbirine eklendi\u011finde olu\u015fan 10 say\u0131s\u0131, matematik ve mistik unsurlardan meydana gelen al\u0131\u015f\u0131lmad\u0131k kar\u0131\u015f\u0131mda m\u00fckemmel bir say\u0131 olarak kabul edilir. M\u00fczikteki armoni de say\u0131ya dayan\u0131r. \u00c7\u00fcnk\u00fc tellerin veya borunun uzunlu\u011fuyla \u00e7\u0131kan ses aras\u0131nda bir ili\u015fki vard\u0131r ve k\u00e2inat uyumlu sesler veren bir birlik durumundad\u0131r. \u00d6\u011fretisi daha \u00e7ok kozmolojik bir karakter ta\u015f\u0131yan Pisagor\u2019un temel \u00e7izgileri ate\u015f, su, toprak ve havad\u0131r. Bunlar ba\u015flang\u0131\u00e7ta bir kaos (karma\u015fa) halinde iken Tanr\u0131 bunlar\u0131 d\u00fczene koyarak kosmosu (d\u00fczen ve \u00e2henk) meydana getirmi\u015ftir. M\u00fczik k\u00e2inattaki bu d\u00fczen ve \u00e2hengin yans\u0131mas\u0131 ve ifadesidir.<\/p>\n
Pisagor\u2019dan itibaren antik Yunan d\u00fc\u015f\u00fcn\u00fcrlerinin m\u00fczik \u00fczerinde \u00e7e\u015fitli g\u00f6r\u00fc\u015fler ileri s\u00fcrd\u00fc\u011f\u00fc g\u00f6r\u00fclmektedir. M\u00fczi\u011fi e\u011fitimlerin en \u00fcst\u00fcn\u00fc olarak kabul eden Sokrat\u2019a g\u00f6re ritim ve melodi ruhun i\u00e7ine i\u015fleyerek onu en g\u00fc\u00e7l\u00fc bi\u00e7imde kavrar. \u0130yi e\u011fitim g\u00f6ren bir insan\u0131n ritim ve melodi y\u00f6n\u00fcndeki ba\u015far\u0131s\u0131 ruhunu da g\u00fczelle\u015ftirir. Efl\u00e2tun\u2019un (Platon) bu konudaki yakla\u015f\u0131m\u0131 Sokrat\u2019\u0131n g\u00f6r\u00fc\u015flerine \u00e7ok yak\u0131nd\u0131r. Aristo ise m\u00fczik e\u011fitiminin pek \u00e7ok bilgiye ula\u015fmak i\u00e7in ara\u00e7 olmas\u0131 y\u00f6n\u00fcnden gerekli oldu\u011funu s\u00f6yler.<\/p>\n
IV. y\u00fczy\u0131ldan itibaren Avrupa\u2019da H\u0131ristiyanl\u0131k \u00e7er\u00e7evesinde \u015fekillenen kilise m\u00fczi\u011fi ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Bilhassa Yak\u0131ndo\u011fu\u2019da Ortodoks kiliselerinde kullan\u0131lan modal yap\u0131 ve kilise modlar\u0131n\u0131n Orta\u00e7a\u011f m\u00fczi\u011fini olu\u015fturan temel unsurlardan oldu\u011fu s\u00f6ylenebilir. VI. y\u00fczy\u0131lda ayn\u0131 zamanda birer m\u00fczik teorisyeni olan Saint Boethius ve Cassiodorus Yunan m\u00fczik tarzlar\u0131n\u0131 yayd\u0131lar. Saint Boethius, De Musica adl\u0131 eserinde Pisagor ve Efl\u00e2tun felsefelerinden yola \u00e7\u0131karak m\u00fczik ve matemati\u011fin ayr\u0131lmazl\u0131\u011f\u0131na, m\u00fczi\u011fin insan karakterine etkisine ve e\u011fitimdeki yerine de\u011finir. Bu d\u00f6nemde kilisenin koyu taassubu alt\u0131nda insan, sadece \u00f6l\u00fcmden sonras\u0131na haz\u0131rl\u0131k yapmas\u0131 gereken kutsal bir ortama y\u00f6nlendirilmi\u015f, \u00e7alg\u0131 ve kad\u0131n sesinin kilise taraf\u0131ndan yasaklanarak kilisede en kutsal \u00e7alg\u0131n\u0131n sadece erkek sesi oldu\u011fu kabul edilmi\u015ftir.<\/p>\n
Bug\u00fcn kullan\u0131lan nota isimleri, Toskana\u2019daki Arrezo Katedrali rahibi Guido taraf\u0131ndan 1030 y\u0131l\u0131nda geli\u015ftirilmi\u015f, daha sonra din d\u0131\u015f\u0131 m\u00fczik de geli\u015ferek kilise m\u00fczi\u011fini etkilemi\u015ftir. Din d\u0131\u015f\u0131 m\u00fczi\u011fin geli\u015fmesinde \u00f6zellikle Ha\u00e7l\u0131 seferleri s\u0131ras\u0131nda \u0130sl\u00e2m co\u011frafyas\u0131n\u0131 dola\u015farak bu b\u00f6lgelerden pek \u00e7ok m\u00fczik ezgisi ve \u015fiirini Avrupa\u2019ya ta\u015f\u0131yan, Troubadour ve Jongleur gibi isimlerle bilinen gezgin m\u00fczisyenlerin \u00f6nemli \u00f6l\u00e7\u00fcde katk\u0131lar\u0131 olmu\u015ftur.<\/p>\n
\u0130sl\u00e2m d\u00fcnyas\u0131nda m\u00fbsiki sistemindeki teorik yap\u0131 VIII-XIII. y\u00fczy\u0131llarda geli\u015ferek End\u00fcl\u00fcs\u2019ten \u00c7in\u2019e ve Orta Afrika\u2019dan Kafkaslar\u2019a kadar geni\u015f bir alanda yayg\u0131nla\u015fm\u0131\u015ft\u0131r. Bu bilgilerin Ortado\u011fu\u2019ya yay\u0131lmas\u0131nda \u0130skenderiye, Antakya, Harran ve Urfa gibi \u0130lk\u00e7a\u011f\u2019\u0131n \u00f6nde gelen Grek bilim merkezlerinin b\u00fcy\u00fck rol\u00fc olmu\u015ftur. \u0130sl\u00e2miyet\u2019in b\u00f6lgede yay\u0131lmas\u0131ndan sonra \u0130skenderiye\u2019nin yan\u0131 s\u0131ra Anadolu, Suriye, Irak ve \u0130ran\u2019da bir\u00e7ok ilim merkezi m\u00fcsl\u00fcmanlar\u0131n eline ge\u00e7mi\u015ftir. \u0130sl\u00e2m d\u00fcnyas\u0131nda ilk m\u00fbsiki nazariyat\u0131 \u00e7al\u0131\u015fmalar\u0131 Emev\u00eeler ve Abb\u00e2s\u00eeler devrinde ba\u015flam\u0131\u015ft\u0131r. Zelzel, Y\u00fbnus el-K\u00e2tib ve Hal\u00eel b. Ahmed bu d\u00f6nemin ilk \u00f6nemli m\u00fbsiki\u015finaslar\u0131d\u0131r. \u00dbd\u00ee Zelzel, Pisagor dizisi olarak an\u0131lan skalaya 355 cent de\u011ferinde bir aral\u0131k il\u00e2ve etmi\u015ftir. Y\u00fbnus el-K\u00e2tib ile aruz ilminin kurucusu olarak bilinen Hal\u00eel\u2019in m\u00fbsiki nazariyat\u0131na dair eserleri g\u00fcn\u00fcm\u00fcze ula\u015fmam\u0131\u015ft\u0131r. Daha sonralar\u0131 \u0130br\u00e2him el-Mevs\u0131l\u00ee, \u0130br\u00e2him b. Mehd\u00ee, \u0130shak el-Mevs\u0131l\u00ee, \u0130bn Hurd\u00e2zbih ve \u0130bn\u00fc\u2019l-M\u00fcneccim onlar\u0131 takip etmi\u015ftir.<\/p>\n
Eski Grekler\u2019e ait ilm\u00ee eserlerin terc\u00fcmeler yoluyla \u0130sl\u00e2m d\u00fcnyas\u0131na girdi\u011fi Abb\u00e2s\u00eeler devrinde m\u00fbsiki nazariyecileri, eski Grekler\u2019de oldu\u011fu gibi sesler aras\u0131ndaki aral\u0131k ve oranlar\u0131 aritmetikte say\u0131lar, astronomide y\u0131ld\u0131zlar ve geometride \u015fekiller aras\u0131ndaki oranlarla birlikte ele alm\u0131\u015flar, ayr\u0131ca bu teorinin baz\u0131 unsurlar\u0131n\u0131 Arap\u00e7a isimler vererek oldu\u011fu gibi, baz\u0131lar\u0131n\u0131 da uyarlama yoluyla kendi teorilerine katm\u0131\u015flard\u0131r. Tarentumlu Aristoxenus\u2019un Elementa Harmonica\u2019s\u0131, Aristides Quintilianus\u2019un De Musica\u2019s\u0131, \u00d6klid\u2019e mal edilen Sectio Canonis, Geresal\u0131 Nicomachus\u2019un Enchiridion\u2019u, Batlamyus\u2019un Harmonikon\u2019u gibi kaynak eserler, \u0130sl\u00e2m d\u00fcnyas\u0131nda m\u00fczik teorisi alan\u0131nda yaz\u0131lan ilk eserlerin temel kayna\u011f\u0131n\u0131 olu\u015fturur.<\/p>\n
\u0130sl\u00e2m d\u00fcnyas\u0131nda m\u00fbsiki \u00e7al\u0131\u015fmalar\u0131n\u0131n teori ve sazlarla ilgili olarak yo\u011funla\u015ft\u0131\u011f\u0131 s\u00f6ylenebilir. \u0130lk \u0130sl\u00e2m filozofu Ya\u2018k\u016bb b. \u0130shak el-Kind\u00ee teori \u00fczerinde \u00e7al\u0131\u015fan en eski m\u00fcelliftir. M\u00fbsikiye dair on ris\u00e2lesinden ancak d\u00f6rt tanesi g\u00fcn\u00fcm\u00fcze ula\u015fan Kind\u00ee, Arap m\u00fbsikisinde ilm\u00ee ekol\u00fcn kurucusu kabul edilir. Kind\u00ee ebced harflerine dayal\u0131 bir nota sistemi kurmu\u015f, m\u00fbsikiyi mant\u0131k, felsefe, hesap, hendese ve hey\u2019et ilimleriyle birlikte de\u011ferlendirmi\u015f, riy\u00e2z\u00ee ilimlerden mahrum olanlar\u0131n \u00f6m\u00fcr boyu felsefe okusalar dahi bunu anlayamayacaklar\u0131n\u0131, sadece yaz\u0131lanlar\u0131 tekrarlam\u0131\u015f olacaklar\u0131n\u0131 ifade etmi\u015ftir. Kind\u00ee, udda her bir telin d\u00f6rt temel ses \u00fczerinde tesis edildi\u011fi ve \u201cd\u00f6rtl\u00fc sistem\u201d ad\u0131n\u0131 verdi\u011fi bir ses sistemi kurmu\u015f, iki oktavl\u0131k bir diziyi elde edebilmek i\u00e7in nazar\u00ee olarak o d\u00f6neme kadar d\u00f6rt telli olan uda \u201ch\u00e2dd\u201d (z\u00eer-i s\u00e2n\u00ee) ismini verdi\u011fi be\u015finci bir tel il\u00e2ve etmi\u015ftir. Kind\u00ee ayr\u0131ca Ethos doktrini \u00e7er\u00e7evesinde udun d\u00f6rt teliyle (bam, mesles, mesn\u00e2, z\u00eer) g\u00f6k cisimleri, bur\u00e7lar, ay, r\u00fczg\u00e2r, mevsimler, g\u00fcnler ve d\u00f6rt unsur aras\u0131nda ba\u011f kurduktan sonra bunlar\u0131n insan v\u00fccuduna etkilerini a\u00e7\u0131klam\u0131\u015ft\u0131r.<\/p>\n
Kind\u00ee\u2019den sonra m\u00fbsiki nazariyesine dair \u00e7al\u0131\u015fmalar\u0131 g\u00fcn\u00fcm\u00fcze ula\u015fm\u0131\u015f di\u011fer bir \u0130sl\u00e2m filozofu F\u00e2r\u00e2b\u00ee\u2019dir. Ayn\u0131 zamanda iyi bir icrac\u0131 olan F\u00e2r\u00e2b\u00ee\u2019nin m\u00fbsiki konusunda telif etti\u011fi \u00fc\u00e7 eserinden en kapsaml\u0131s\u0131 el-M\u00fbs\u00ee\u1e33a\u2019l-keb\u00eer, Bat\u0131\u2019da ve \u0130sl\u00e2m d\u00fcnyas\u0131nda m\u00fbsiki teorisi ve \u00f6zellikle m\u00fbsiki felsefesi hakk\u0131nda yaz\u0131lm\u0131\u015f en sistemli eserlerden biri kabul edilmektedir. M\u00fbsiki sanat\u0131n\u0131 icra eden ve teoriyi icra ile kuvvetlendirmek isteyenler i\u00e7in yaz\u0131lan eser icran\u0131n teoriden \u00f6nce geldi\u011fi esas\u0131 \u00fczerine kurulmu\u015ftur. M\u00fbsiki konusunda Grek ve \u0130sl\u00e2m d\u00fcnyas\u0131 aras\u0131nda k\u00f6pr\u00fc vazifesi g\u00f6ren F\u00e2r\u00e2b\u00ee bu eserde Grek eserlerini \u015ferhetmekle kalmam\u0131\u015f, onlardan eksik \u015fekilde intikal eden bilgileri d\u00fczelterek tamamlam\u0131\u015ft\u0131r. Kitapta m\u00fbsikinin fizyolojik esaslar\u0131n\u0131 ele alma \u015fekli bak\u0131m\u0131ndan Grekler a\u015f\u0131lm\u0131\u015f, ayr\u0131ca \u00e7alg\u0131lar hakk\u0131nda hi\u00e7bir eser b\u0131rakmayan Grekler\u2019in aksine bu alanda ilk \u00e7al\u0131\u015fmalar ortaya konmu\u015f; ud, \u015fehr\u00fbd, Horasan ve Ba\u011fdat tamburlar\u0131n\u0131n perde ba\u011flar\u0131 ve akort sistemleri hakk\u0131nda geni\u015f bilgi verilmi\u015ftir. Eserin, ba\u015fta \u0130bn S\u00een\u00e2 olmak \u00fczere daha sonra yap\u0131lan m\u00fbsiki teorisine dair \u00e7al\u0131\u015fmalar\u0131 etkiledi\u011fi ve bu etkinin Abd\u00fclk\u0101dir-i Mer\u00e2g\u012b\u2019ye kadar uzand\u0131\u011f\u0131 kabul edilmektedir.<\/p>\n
Muhammed b. Ahmed el-H\u00e2rizm\u00ee ile trigonometri ilminin kurucusu Eb\u00fc\u2019l-Vef\u00e2 el-B\u00fbzc\u00e2n\u00ee, F\u00e2r\u00e2b\u00ee\u2019den sonra m\u00fbsiki teorisi \u00fczerine eser yazm\u0131\u015f m\u00fcelliflerin en \u00f6nemlileridir. H\u00e2rizm\u00ee Mef\u00e2t\u00ee\u1e25u\u2019l-\u02bful\u00fbm adl\u0131 ansiklopedik eserinin m\u00fbsikiye ait b\u00f6l\u00fcmlerinde aral\u0131klar, perdeler ve tellerin taksimat\u0131 gibi ses sistemiyle ilgili konularla m\u00fbsiki aletleri hakk\u0131ndaki bilgilere yer vermi\u015ftir. B\u00fbzc\u00e2n\u00ee\u2019nin \u00eek\u0101a dair eseri kaybolmu\u015ftur. Orta\u00e7a\u011f \u0130sl\u00e2m d\u00fcnyas\u0131 m\u00fbsiki kaynaklar\u0131nda ad\u0131ndan s\u0131k\u00e7a s\u00f6z edilen bir di\u011fer \u00f6nemli eser Res\u00e2\u02beil\u00fc \u0130\u1e2bv\u00e2ni\u2019\u1e63-\u1e62af\u00e2\u02bed\u0131r. X. y\u00fczy\u0131lda Basra\u2019da din\u00ee, felsef\u00ee, siyas\u00ee ve ilm\u00ee ama\u00e7larla ortaya \u00e7\u0131km\u0131\u015f bir topluluk olan \u0130hv\u00e2n-\u0131 Saf\u00e2\u2019n\u0131n bu konulardaki d\u00fc\u015f\u00fcncelerini i\u00e7eren k\u00fclliyat\u0131n matemati\u011fe ayr\u0131lan be\u015finci ris\u00e2lesinde m\u00fbsikiyle ilgili g\u00f6r\u00fc\u015f ve bilgilere yer verilmi\u015ftir. M\u00fbsikinin ruha tesiri, sesin \u00f6zellikleri, aral\u0131klar, m\u00fbsiki-kosmos m\u00fcnasebeti, seslerin uyumu, miza\u00e7-ses ili\u015fkisi, \u00e7alg\u0131lar ve \u00eek\u0101\u2018 konular\u0131n\u0131n ele al\u0131nd\u0131\u011f\u0131 ris\u00e2le Hermes, Pisagor ve Konf\u00fc\u00e7y\u00fcs\u2019\u00fcn il\u00e2h\u00ee derinli\u011fe sahip m\u00fczik yorumlar\u0131n\u0131n \u0130sl\u00e2m d\u00fcnyas\u0131na aktar\u0131lmas\u0131nda b\u00fcy\u00fck \u00f6l\u00e7\u00fcde etkili olmu\u015ftur. \u0130hv\u00e2n-\u0131 Saf\u00e2 bu ris\u00e2lenin amac\u0131n\u0131n b\u00fct\u00fcn d\u00fcnyan\u0131n aritmetik, geometrik ve m\u00fcziksel ili\u015fkilerle uyum i\u00e7inde bulundu\u011funu g\u00f6stermek suretiyle evrensel \u00e2hengin ger\u00e7ekle\u015fti\u011fini a\u00e7\u0131klamak oldu\u011funu ifade eder. M\u00fbsikinin ilk sebebi olarak g\u00f6klerin armonisi g\u00f6r\u00fc\u015f\u00fcn\u00fc savunan \u0130hv\u00e2n-\u0131 Saf\u00e2\u2019n\u0131n m\u00fczik dinlerken ya\u015fan\u0131lan vecd halini anlatan s\u00f6zleri hemen hemen tasavvuf\u00eedir. \u0130hv\u00e2n-\u0131 Saf\u00e2, k\u00e2inatta varl\u0131klar aras\u0131ndaki uyumdan ve oranlardan s\u00f6z ettikten sonra ayn\u0131 uyumun gezegenler aras\u0131nda da mevcut oldu\u011funu ve gezegenlerin hareketleri esnas\u0131nda uyumlu na\u011fmeler \u00e7\u0131kard\u0131\u011f\u0131n\u0131 ifade ederken Pisagor d\u00fc\u015f\u00fcncesine olduk\u00e7a yakla\u015f\u0131r.<\/p>\n
Orta\u00e7a\u011f t\u0131bb\u0131n\u0131n \u00f6nde gelen temsilcisi olan ve m\u00fbsikiyi riy\u00e2z\u00ee ve e\u011fitici ilimler aras\u0131nda sayan \u0130bn S\u00een\u00e2 m\u00fbsiki konusunda m\u00fcstakil eser yazmam\u0131\u015f, ancak e\u015f-\u015eif\u00e2\u02be, en-Nec\u00e2t ve D\u00e2ni\u015fn\u00e2me-i \u02bfAl\u00e2\u02be\u00ee adl\u0131 kitaplar\u0131nda konuyla ilgili b\u00f6l\u00fcmlere yer vermi\u015ftir. Mant\u0131k, tab\u00eeiyy\u00e2t, riy\u00e2ziyy\u00e2t ve il\u00e2hiyy\u00e2t b\u00f6l\u00fcmlerinden meydana gelen e\u015f-\u015eif\u00e2\u02be\u0131n riy\u00e2ziyy\u00e2t b\u00f6l\u00fcm\u00fcn\u00fcn on ikinci k\u0131sm\u0131 \u201cCev\u00e2miu ilmi\u2019l-m\u00fbs\u00eek\u0101\u201d ad\u0131n\u0131 ta\u015f\u0131maktad\u0131r. e\u015f-\u015eif\u00e2\u02be gibi d\u00f6rt b\u00f6l\u00fcmden meydana gelen en-Nec\u00e2t\u2019\u0131n riy\u00e2ziyy\u00e2t b\u00f6l\u00fcm\u00fc d\u0131\u015f\u0131ndaki \u00fc\u00e7 b\u00f6l\u00fcm\u00fc e\u015f-\u015eif\u00e2\u02be\u0131n \u00f6nemli \u00f6l\u00e7\u00fcde \u00f6zeti mahiyetindedir. M\u00fbsikiye ait bilgiler en-Nec\u00e2t\u2019\u0131n riy\u00e2ziyy\u00e2t b\u00f6l\u00fcm\u00fcnde \u201cMu\u1e2bta\u1e63ar f\u00ee \u02bfilmi\u2019l-m\u00fbs\u00ee\u1e33\u0101\u201d ba\u015fl\u0131\u011f\u0131 alt\u0131nda verilmi\u015ftir. Bu bilgiler, \u0130bn S\u00een\u00e2\u2019n\u0131n talebesi Abd\u00fclv\u00e2hid el-C\u00fbzc\u00e2n\u00ee taraf\u0131ndan hocas\u0131n\u0131n eserlerinden derlenmi\u015ftir. D\u00e2ni\u015fn\u00e2me\u2019deki m\u00fbsiki b\u00f6l\u00fcm\u00fcnde ise en-Nec\u00e2t\u2019taki bilgiler hemen hemen aynen tekrarlanm\u0131\u015ft\u0131r. Bat\u0131 kaynaklar\u0131nda Grek eserlerini \u015ferhedenler ekol\u00fcnden say\u0131lan \u0130bn S\u00een\u00e2, F\u00e2r\u00e2b\u00ee\u2019nin m\u00fczik \u00fczerindeki d\u00fc\u015f\u00fcncelerini daha da geni\u015fleterek kendi sistemati\u011fi i\u00e7erisinde incelemi\u015ftir. \u0130bn S\u00een\u00e2\u2019n\u0131n yapt\u0131\u011f\u0131 m\u00fbsiki tarifinden ortaya \u00e7\u0131kan ses ve \u00eek\u0101\u2018 unsuru fizik, aritmetik ve geometriyle do\u011frudan ilgilidir. Ona g\u00f6re ses, ayn\u0131 zamanda hayat m\u00fccadelesinde ve \u00e7e\u015fitli ihtiya\u00e7lar\u0131n kar\u015f\u0131lanmas\u0131nda canl\u0131lara bah\u015fedilen bir haberle\u015fme arac\u0131d\u0131r. \u0130bn S\u00een\u00e2, g\u00f6k cisimlerinin hareketleri esnas\u0131nda uyumlu sesler \u00e7\u0131kard\u0131\u011f\u0131n\u0131 ileri s\u00fcren m\u00fcsl\u00fcman Pisagorcular\u2019\u0131n bu g\u00f6r\u00fc\u015f\u00fcne kat\u0131lmaz. Sesler aras\u0131ndaki orant\u0131lar\u0131 matematiksel olarak a\u00e7\u0131klarken uyumlu iki sesin daima say\u0131sal bir oran i\u00e7inde bulundu\u011funu ifade eder. Ses, aral\u0131klar, cinsler, diziler, \u00eek\u0101\u2018, \u015fiir-m\u00fczik m\u00fcnasebeti, bestecilik ve sazlar konular\u0131n\u0131 i\u015fledi\u011fi eserlerinde \u0130bn S\u00een\u00e2 d\u00f6neminin m\u00fczik anlay\u0131\u015f\u0131n\u0131 ortaya koymu\u015ftur.<\/p>\n
\u0130bn S\u00een\u00e2\u2019n\u0131n talebesi \u0130bn Zeyle, el-K\u00e2f\u00ee fi\u2019l-m\u00fbs\u00ee\u1e33\u0101 adl\u0131 eserinde hocas\u0131n\u0131n e\u015f-\u015eif\u00e2\u02bedaki tertibini ve metodunu takip etmi\u015f, \u00eek\u0101\u2018 konusunda ise Kind\u00ee ve F\u00e2r\u00e2b\u00ee\u2019den faydalanm\u0131\u015ft\u0131r. Kitap, di\u011fer eserlerde bulunmayan pek \u00e7ok teorik konuya yer vermesi bak\u0131m\u0131ndan ayr\u0131ca \u00f6nemlidir. \u00d6klid\u2019in (Euclides) Sectio Canonis ve Introductio Harmonica\u2019s\u0131na yazd\u0131\u011f\u0131 \u015ferhlerle tan\u0131nan \u0130bn\u00fc\u2019l-Heysem, Ris\u00e2le fi\u2019l-m\u00fbs\u00ee\u1e33\u0101 m\u00fcellifi Eb\u00fc\u2019s-Salt ed-D\u00e2n\u00ee, \u0130bn Men\u2018a, Eb\u00fc\u2019l-Hakem el-Endel\u00fcs\u00ee ve o\u011flu Eb\u00fc\u2019l-Mecd Muhammed, M\u00fchezzeb\u00fcddin \u0130bn\u00fc\u2019n-Nakk\u0101\u015f, Fahreddin er-R\u00e2z\u00ee, Alem\u00fcddin Kayser ile Ris\u00e2le f\u00ee \u02bfilmi\u2019l-m\u00fbs\u00ee\u1e33\u0101 adl\u0131 eserin m\u00fcellifi Nas\u00eer\u00fcdd\u00een-i T\u00fbs\u00ee bu alandaki di\u011fer \u00f6nemli isimlerdir. Bat\u0131 \u0130sl\u00e2m d\u00fcnyas\u0131nda da baz\u0131 ilim adamlar\u0131n\u0131n teorik m\u00fbsiki \u00e7al\u0131\u015fmalar\u0131na kat\u0131ld\u0131\u011f\u0131 g\u00f6r\u00fclmektedir. \u0130bn B\u00e2cce\u2019nin Kit\u00e2b\u00fc\u2019l-M\u00fbs\u00ee\u1e33\u0101 ile Aristo\u2019nun De Anima\u2019s\u0131na yazd\u0131\u011f\u0131 \u015eer\u1e25u Kit\u00e2b fi\u2019n-nefs adl\u0131 eserleri, \u0130bn R\u00fc\u015fd\u2019\u00fcn yine Aristo\u2019nun De Anima\u2019s\u0131 i\u00e7in kaleme ald\u0131\u011f\u0131 \u015eer\u1e25u fi\u2019n-Nefs li-Aris\u1e6do\u1e6d\u00e2l\u00ees\u2019i bu d\u00f6nemin ba\u015fl\u0131ca eserlerindendir. Ayr\u0131ca X. y\u00fczy\u0131lda yaz\u0131lan baz\u0131 tarih ve co\u011frafya kitaplar\u0131nda m\u00fbsiki\u015finaslar\u0131n hayatlar\u0131na, eserlerine ve m\u00fbsiki tarihine dair geni\u015f bilgilere yer verildi\u011fi g\u00f6r\u00fclmektedir. Ali b. H\u00fcseyin el-Mes\u2018\u00fbd\u00ee\u2019nin A\u1e2bb\u00e2r\u00fc\u2019z-zam\u00e2n ve Kit\u00e2b\u00fc\u2019z-Z\u00fclef\u2019inin yan\u0131 s\u0131ra bilhassa M\u00fcr\u00fbc\u00fc\u2019\u1e95-\u1e95eheb\u2019i bunlar aras\u0131nda an\u0131labilir. Eb\u00fc\u2019l-Ferec el-\u0130sfah\u00e2n\u00ee\u2019nin Emev\u00eeler d\u00f6neminde ve Abb\u00e2s\u00eeler\u2019in ilk devirlerinde ya\u015fayan m\u00fbsiki\u015finaslar\u0131n hayat\u0131, eserleri ve besteleri hakk\u0131nda bilgiler veren el-E\u0121\u0101n\u00ee\u2019si bu d\u00f6nemde yap\u0131lm\u0131\u015f en \u00f6nemli \u00e7al\u0131\u015fmalardan biridir.<\/p>\n
XIII. y\u00fczy\u0131lda fizik \u00e2limi Safiyy\u00fcddin el-Urmev\u00ee\u2019nin ortaya koydu\u011fu ses sistemi \u00e7ok geni\u015f bir co\u011frafyada benimsenmi\u015f ve \u00fczerinde \u00e7e\u015fitli \u00e7al\u0131\u015fmalar yap\u0131lm\u0131\u015ft\u0131r. Son Abb\u00e2s\u00ee halifesi M\u00fcsta\u2018s\u0131m-Bill\u00e2h\u2019\u0131n yak\u0131n \u00e7evresinde bulunan ve daha sonra \u0130lhanl\u0131 C\u00fcveyn\u00ee ailesinden destek g\u00f6ren Safiyy\u00fcddin\u2019in Nas\u00eer\u00fcdd\u00een-i T\u00fbs\u00ee\u2019nin tavsiyesiyle gen\u00e7 ya\u015flar\u0131nda yazd\u0131\u011f\u0131 Kit\u00e2b\u00fc\u2019l-Edv\u00e2r f\u00ee ma\u02bfrifeti\u2019n-na\u0121am ve\u2019l-evt\u00e2r\u2019\u0131 genel anlamda m\u00fbsiki nazariyat\u0131na dair temel \u00e7al\u0131\u015fmalar\u0131ndan biridir. \u00d6te yandan eser T\u00fcrk m\u00fbsikisi ses ve dizileriyle ilgili yaz\u0131l\u0131 kaynaklar\u0131n ilk s\u0131ralar\u0131nda yer al\u0131r. Safiyy\u00fcddin\u2019in er-Ris\u00e2let\u00fc\u2019\u015f-\u015ferefiyye fi\u2019n-nisebi\u2019t-te\u02bel\u00eefiyye\u2019si \u00f6ncekinden daha m\u00fckemmel bir nitelik ta\u015f\u0131r. M\u00fbsiki nazariyat\u0131 alan\u0131nda yeni bir d\u00f6nem ba\u015flatan Safiyy\u00fcddin, eski Yunan nota sistemini aynen al\u0131p Arap harfleriyle bu notalara kar\u015f\u0131l\u0131k bulan \u00f6nceki nazariyecilerden farkl\u0131 olarak ya\u015fayan m\u00fbsikiyi de inceleyip bir oktav\u0131 17 aral\u0131\u011fa b\u00f6lm\u00fc\u015f ve perdeleri ebced sistemine g\u00f6re harflerle g\u00f6stermi\u015ftir. Onun Pisagor, eski \u0130ran ve Zelzel sistemlerini de i\u00e7ine alan bu sistemini \u0130ngiliz m\u00fczikolog ve bestecisi Sir Charles Hubert Parry \u201ctahayy\u00fcl edilmesi bile g\u00fc\u00e7 olan m\u00fckemmel bir ses dizisi\u201d olarak nitelemi\u015ftir. Urmev\u00ee, Avrupa\u2019da XIV. y\u00fczy\u0131ldan sonra halledilmeye ba\u015flanan notadaki zaman problemini notaya ald\u0131\u011f\u0131 bestelerinde \u00e7\u00f6z\u00fcp pratik \u015fekilde uygulam\u0131\u015f, ayr\u0131ca m\u00fczisyenlerin kendi \u00fcsl\u00fbplar\u0131nda icra etme gelene\u011fini a\u015f\u0131p akort ve \u00fcsl\u00fbp birli\u011fi temin ederek m\u00fczisyenlerin bir arada uyum i\u00e7erisinde icra yapmalar\u0131 \u00e2detini yerle\u015ftirmi\u015ftir. Avrupal\u0131 m\u00fczikologlar, Safiyy\u00fcddin\u2019in sistemini esas alan daha sonraki nazariyecilere \u201csistematistler\u201d ad\u0131n\u0131 vermi\u015flerdir. XIII-XVI. y\u00fczy\u0131l m\u00fbsiki yap\u0131s\u0131n\u0131n kurulmas\u0131nda ba\u015fta Safiyy\u00fcddin el-Urmev\u00ee olmak \u00fczere pek \u00e7ok m\u00fbsiki\u015finas\u0131n ara\u015ft\u0131rmas\u0131 ve incelemesi etkili olmu\u015ftur. XIV. y\u00fczy\u0131ldan XVI. y\u00fczy\u0131l\u0131n ortalar\u0131na kadar T\u00fcrk d\u00fcnyas\u0131nda ve ona kom\u015fu milletlerin nazar\u00ee m\u00fbsiki \u00e7al\u0131\u015fmalar\u0131nda Safiyy\u00fcddin\u2019in sistemi esas al\u0131nm\u0131\u015ft\u0131r.<\/p>\n
Azerbaycan ve \u00e7evresi XIV. y\u00fczy\u0131lda bu konudaki \u00e7al\u0131\u015fmalar\u0131n merkezi olmu\u015f, onun do\u011fu kom\u015fusu H\u00fbzistan ve Fars b\u00f6lgelerinde de ayn\u0131 sistem benimsenmi\u015ftir. Artuklu b\u00f6lgesinde ya\u015fad\u0131\u011f\u0131 anla\u015f\u0131lan m\u00fbsiki\u015finas ve edebiyat\u00e7\u0131 \u0130bn\u00fc\u2019l-Hat\u00eeb el-Erbil\u00ee, Urc\u00fbzet\u00fc\u2019l-en\u0121\u0101m ve bunun \u015ferhi Cev\u00e2hir\u00fc\u2019n-ni\u1e93\u00e2m f\u00ee ma\u02bfrifeti\u2019l-en\u0121\u0101m\u2019\u0131nda, Tebrizli hattat Abdullah-\u0131 Sayraf\u00ee\u2019nin Safiyy\u00fcddin\u2019in Kit\u00e2b\u00fc\u2019l-Edv\u00e2r\u2019\u0131n\u0131 a\u00e7\u0131klad\u0131\u011f\u0131 \u1e2aul\u00e2\u1e63at\u00fc\u2019l-efk\u00e2r f\u00ee ma\u02bfrifeti\u2019l-edv\u00e2r adl\u0131 eserinde, matematik\u00e7i Cem\u00e2leddin el-Mard\u00een\u00ee\u2019nin Mu\u1e33addime f\u00ee \u1e33av\u00e2n\u00eeni\u2019l-en\u0121\u0101m ile onu a\u00e7\u0131klad\u0131\u011f\u0131 Urc\u00fbze f\u00ee \u015fer\u1e25i\u2019n-na\u0121am\u00e2t\u2019\u0131nda hep bu m\u00fbsiki sistemi i\u015flenmi\u015ftir. Astronomi, matematik ve t\u0131p \u00e2limi Kutb\u00fcdd\u00een-i \u015e\u00eer\u00e2z\u00ee, D\u00fcrret\u00fc\u2019t-t\u00e2c li-\u0121urreti\u2019d-d\u00eeb\u00e2c adl\u0131 ilimler ansiklopedisinde, Fars b\u00f6lgesi merkezli Muzaffer\u00eeler Devleti\u2019nde \u015eemseddin el-\u00c2m\u00fcl\u00ee, Nef\u00e2\u02beis\u00fc\u2019l-f\u00fcn\u00fbn f\u00ee \u02bfar\u00e2\u02beisi\u2019l-\u02bfuy\u00fbn adl\u0131 ansiklopedik eserinde ve Hasan K\u00e2\u015f\u00e2n\u00ee\u2019nin Fars\u00e7a Kenz\u00fc\u2019t-tu\u1e25af adl\u0131 ansiklopedik \u00e7al\u0131\u015fmas\u0131nda Safiyy\u00fcddin\u2019in sistemi ele al\u0131nm\u0131\u015ft\u0131r. Ayn\u0131 y\u00fczy\u0131lda, Bat\u0131 T\u00fcrkistan\u2019daki \u00e7al\u0131\u015fmalar aras\u0131nda Safiyy\u00fcddin\u2019in eserini \u015ferheden tabip Fahreddin Muhammed Hucend\u00ee ile Lutfullah Semerkand\u00ee\u2019nin \u015eer\u1e25-i Kit\u00e2b-\u0131 Edv\u00e2r adl\u0131 eserleri de zikredilmelidir.<\/p>\n
M\u00fbsiki nazariyat\u0131 \u00e7al\u0131\u015fmalar\u0131n\u0131n XV. y\u00fczy\u0131lda da devam etti\u011fi, Azerbaycan, Bat\u0131 T\u00fcrkistan ve Osmanl\u0131 kesimlerinde pek \u00e7ok ara\u015ft\u0131rmac\u0131n\u0131n Safiyy\u00fcddin\u2019in sistemi \u00fczerinde \u00e7al\u0131\u015f\u0131p eserler verdi\u011fi g\u00f6r\u00fclmektedir. Bu d\u00f6neme kadar daha \u00e7ok T\u00fcrkistan ve Azerbaycan b\u00f6lgelerinde yo\u011funla\u015fan m\u00fbsiki nazariyat\u0131 \u00e7al\u0131\u015fmalar\u0131 bu y\u00fczy\u0131ldan itibaren Osmanl\u0131 \u00fclkesine kaymaya ba\u015flam\u0131\u015ft\u0131r. K\u0131r\u015fehirli Niz\u00e2meddin b. Y\u00fbsuf\u2019un Fars\u00e7a kaleme ald\u0131\u011f\u0131 Ris\u00e2le-i M\u00fbs\u00ee\u1e33\u012b\u2019si, saray m\u00fbsiki\u015finaslar\u0131ndan H\u0131z\u0131r b. Abdullah\u2019\u0131n 1441\u2019de II. Murad\u2019a takdim etti\u011fi T\u00fcrk\u00e7e Kit\u00e2b\u00fc\u2019l-Edv\u00e2r\u2019\u0131, Bedr-i Dil\u015f\u00e2d\u2019\u0131n yine II. Murad\u2019a ithaf etti\u011fi Muradn\u00e2me adl\u0131 manzum nasihatn\u00e2mesinin bir b\u00f6l\u00fcm\u00fc, Abd\u00fclk\u0101dir-i Mer\u00e2g\u012b\u2019nin o\u011flu Abd\u00fclaziz\u2019in F\u00e2tih Sultan Mehmed\u2019e ithaf etti\u011fi Ne\u1e33\u0101vet\u00fc\u2019l-edv\u00e2r\u2019\u0131, Behcet\u00fc\u2019t-tev\u00e2r\u00ee\u1e2b yazar\u0131 \u015e\u00fckrullah\u2019\u0131n baz\u0131 il\u00e2velerle T\u00fcrk\u00e7e\u2019ye \u00e7evirdi\u011fi Terceme-i Kit\u00e2b-\u0131 Edv\u00e2r\u2019\u0131, matematik, astronomi ve co\u011frafya \u00e2limi Fethullah e\u015f-\u015eirv\u00e2n\u00ee\u2019nin F\u00e2tih Sultan Mehmed i\u00e7in kaleme ald\u0131\u011f\u0131 Ris\u00e2le f\u00ee \u02bfilmi\u2019l-m\u00fbs\u00ee\u1e33\u012b\u2019si (Mecelle fi\u2019l-m\u00fbs\u00ee\u1e33\u012b), Bat\u0131 T\u00fcrkistanl\u0131 oldu\u011fu san\u0131lan Ali \u015eah b. Hac\u0131 B\u00fcke\u2019nin Timurlu H\u00fck\u00fcmdar\u0131 H\u00fcseyin Baykara\u2019n\u0131n veziri Ali \u015e\u00eer Nev\u00e2\u00ee\u2019ye takdim etti\u011fi Mukaddimet\u00fc\u2019l-us\u00fbl\u2019\u00fc, Abdurrahman-\u0131 C\u00e2m\u00ee\u2019nin Ris\u00e2le-i M\u00fbs\u00ee\u1e33\u012b\u2019si, L\u00e2dikli Mehmed \u00c7elebi\u2019nin II. Bayezid\u2019e ithaf etti\u011fi Zeyn\u00fc\u2019l-elh\u00e2n f\u00ee ilmi\u2019t-te\u2019l\u00eef ve\u2019l-evz\u00e2n ve er-Ris\u00e2let\u00fc\u2019l-fethiyye adl\u0131 eserleri, Kad\u0131z\u00e2de Tirev\u00ee\u2019nin Ris\u00e2le fi\u2019l-m\u00fbsik\u012b\u2019si, Ah\u00eez\u00e2de Ali \u00c7elebi\u2019nin Ris\u00e2let\u00fc\u2019l-m\u00fbsik\u012b fi\u2019l-edv\u00e2r\u2019\u0131 XV. y\u00fczy\u0131lda yap\u0131lan \u00e7al\u0131\u015fmalar\u0131n en \u00f6nemlilerindendir. Bu \u00e7al\u0131\u015fmalara Abd\u00fclk\u0101dir-i Mer\u00e2g\u012b\u2019nin katk\u0131lar\u0131 b\u00fcy\u00fckt\u00fcr. Mer\u00e2g\u012b C\u00e2mi\u02bfu\u2019l-el\u1e25\u00e2n, Ma\u1e33\u0101\u1e63\u0131d\u00fc\u2019l-el\u1e25\u00e2n, Kenz\u00fc\u2019l-el\u1e25\u00e2n, Ris\u00e2le-i Fev\u00e2d-i \u02bfA\u015fere, \u015eer\u1e25-i Kit\u00e2b\u00fc\u2019l-Edv\u00e2r ve Z\u00fcbdet\u00fc\u2019l-edv\u00e2r adl\u0131 eserlerinde Safiyy\u00fcddin el-Urmev\u00ee\u2019nin sistemini i\u015flemi\u015ftir. F\u00e2r\u00e2b\u00ee, \u0130bn S\u00een\u00e2, Safiyy\u00fcddin ve Kutb\u00fcddin e\u015f-\u015e\u00eer\u00e2z\u00ee\u2019nin baz\u0131 g\u00f6r\u00fc\u015flerini ele\u015ftirerek tart\u0131\u015fm\u0131\u015f, ayr\u0131ca d\u00f6nemin m\u00fbsiki formlar\u0131, \u00e7alg\u0131lar\u0131 ve icra sanat\u0131na dair bilgilere yer vermi\u015ftir. Ses sistemiyle ilgili konular \u00fczerinde en \u00e7ok duran m\u00fcelliflerden biri olan Mer\u00e2g\u012b bilhassa tel taksimat\u0131 meselesini ayr\u0131nt\u0131l\u0131 bi\u00e7imde ele alm\u0131\u015f, kendine ait taksim metotlar\u0131 ortaya koyarak bunlar\u0131 a\u00e7\u0131klam\u0131\u015ft\u0131r. Timurlu \u00fclkesinde m\u00fbsiki\u015finas Zeynel\u00e2bid\u00een el-H\u00fcseyn\u00ee, Ali \u015e\u00eer Nev\u00e2\u00ee\u2019ye ithaf etti\u011fi \u1e32\u0101n\u00fbnu \u02bfilm\u00ee ve \u02bfameliyyi\u2019l-m\u00fbs\u00ee\u1e33\u012b, Necmeddin Kevkeb\u00ee Buh\u00e2r\u00ee, \u00d6zbek H\u00fck\u00fcmdar\u0131 Ubeydullah Han ad\u0131na yazd\u0131\u011f\u0131 Ris\u00e2le-i M\u00fbs\u00ee\u1e33\u012b, Mer\u00e2g\u012b\u2019nin torunu \u00dbd\u00ee Mahmud \u00c7elebi Ma\u1e33\u0101\u1e63\u0131d\u00fc\u2019l-edv\u00e2r adl\u0131 eseriyle Safiyy\u00fcddin\u2019in sistemini i\u015fleyen son nazariyecilerdir. Bu isimlere II. Bayezid zaman\u0131nda ya\u015fad\u0131\u011f\u0131 anla\u015f\u0131lan Seyd\u00ee\u2019nin Ma\u1e6dla\u02bf\u0131 da eklenmelidir.<\/p>\n
XVI. y\u00fczy\u0131l\u0131n sonlar\u0131ndan itibaren m\u00fbsiki nazariyat\u0131na dair eserlere ra\u011fbet azal\u0131rken beste ve icraya y\u00f6nelik \u00e7al\u0131\u015fmalar h\u0131z kazanm\u0131\u015ft\u0131r. \u0130stanbul\u2019un bir k\u00fclt\u00fcr ve sanat merkezi haline gelmesinin ard\u0131ndan m\u00fbsiki nazariyat\u0131 sahas\u0131ndaki \u00e7al\u0131\u015fmalar\u0131n \u00e7o\u011funlukla \u0130stanbul ve \u00e7evresinde devam etti\u011fi g\u00f6r\u00fclmektedir. Bunlar aras\u0131nda Kantemiro\u011flu ile Galata Mevlev\u00eeh\u00e2nesi \u015feyhlerinden Kutb\u00fcnn\u00e2y\u00ee Osman Dede\u2019nin nazariyata dair \u00e7al\u0131\u015fmalar\u0131 \u00f6nemlidir. Kantemiro\u011flu, II. Ahmed\u2019e ithaf etti\u011fi Kit\u00e2b\u00fc \u0130lmi\u2019l-m\u00fbsik\u012b al\u00e2 vechi\u2019l-hur\u00fbf\u00e2t adl\u0131 T\u00fcrk\u00e7e eserinde nazar\u00ee m\u00fbsiki bilgilerinin yan\u0131 s\u0131ra alfabetik olarak s\u0131ralanm\u0131\u015f 350\u2019yi a\u015fk\u0131n enstr\u00fcmantal bestenin notas\u0131n\u0131 kendi icat etti\u011fi sistemi kullanarak vermi\u015ftir. Daha \u00f6nceki y\u00fczy\u0131llarda kullan\u0131lan ve \u201cebced notas\u0131\u201d denen sistemi Kantemiro\u011flu tambur perdeleri i\u00e7in kullanm\u0131\u015f, dizinin en alt perdesi ve ana sesi olan yeg\u00e2htan tiz h\u00fcseyn\u00eeye kadar sahay\u0131 (iki sekizli) otuz \u00fc\u00e7 harf ile g\u00f6stermi\u015ftir. Osman Dede, Kantemiro\u011flu notas\u0131na benzeyen kendi nota sisteminde de yeg\u00e2htan tiz h\u00fcseyn\u00eeye kadarki perdeler i\u00e7in otuz \u00fc\u00e7 harfe yer vermi\u015f, klasik ebced notas\u0131ndan farkl\u0131 olarak Arap alfabesindeki noktal\u0131 harfleri de kullanm\u0131\u015ft\u0131r. Osman Dede ayr\u0131ca m\u00fbsiki bilgilerini i\u00e7eren Rab\u1e6d-\u0131 Ta\u02bfb\u00eer\u00e2t-\u0131 M\u00fbs\u00ee\u1e33\u012b adl\u0131 manzum bir eser yazm\u0131\u015ft\u0131r. Bu konuda yeni bir ad\u0131m, Yenikap\u0131 Mevlev\u00eeh\u00e2nesi \u015feyhlerinden Abd\u00fclb\u00e2ki N\u00e2s\u0131r Dede taraf\u0131ndan at\u0131lm\u0131\u015ft\u0131r. III. Selim\u2019in verdi\u011fi g\u00f6rev \u00fczerine yeni bir nota sistemi d\u00fczenleyerek bunu telif etti\u011fi Tahr\u00eeriyye adl\u0131 eserinde a\u00e7\u0131klayan N\u00e2s\u0131r Dede, bu harf nota sisteminde yeg\u00e2htan tiz h\u00fcseyn\u00eeye kadarki dizide yer alan perde say\u0131s\u0131n\u0131 yeg\u00e2h ile a\u015firan aras\u0131na iki, rast ile zirg\u00fcle aras\u0131na bir, tiz nev\u00e2 ile tiz hisar aras\u0131na bir perde ekleyerek otuz yediye \u00e7\u0131karm\u0131\u015ft\u0131r. Bu sistemin bir di\u011fer yenili\u011fi \u201ces\u201dler i\u00e7in nokta ile virg\u00fcl i\u015faretlerinin kullan\u0131lmas\u0131d\u0131r. Yine III. Selim\u2019in te\u015fvikiyle kaleme ald\u0131\u011f\u0131 Tedk\u012bk u Tahk\u012bk adl\u0131 eserinde \u00e7ok say\u0131da makam\u0131n dizileriyle ilgili bilgileri geni\u015fleten N\u00e2s\u0131r Dede\u2019nin nota sistemi beklenen ra\u011fbeti g\u00f6rmemi\u015ftir. Onun ard\u0131ndan Ermeni kilisesi mugann\u00eelerinden Hamparsum Limonciyan, Orta\u00e7a\u011f Ermeni \u201cneuma\u201d notas\u0131na dayanarak yeni bir sistem geli\u015ftirmi\u015ftir. Ermeni alfabesindeki baz\u0131 harflerin stilize edilmesiyle olu\u015fan bu sistem Bat\u0131 notas\u0131 gibi soldan sa\u011fa yaz\u0131l\u0131r. Bir sekizlide on d\u00f6rt perde yer al\u0131r. Ana sesleri g\u00f6steren i\u015faretlerin ba\u015f\u0131na (~) konularak ara sesler, alt\u0131na k\u0131sa bir \u00e7izgi \u00e7ekilerek bir oktav tiz sesler ifade edilir. Porteye ihtiya\u00e7 duyulmayan bu nota yaz\u0131m\u0131nda seslerin de\u011ferleri notalar\u0131 g\u00f6steren i\u015faretlerin \u00fcst\u00fcne konulan nokta, k\u00fc\u00e7\u00fck \u00e7izgi ve dairelerle, \u201ces\u201dler de yine ayn\u0131 nokta, k\u00fc\u00e7\u00fck \u00e7izgi ve dairelerin tek ba\u015f\u0131na kullan\u0131lmas\u0131yla g\u00f6sterilmi\u015ftir. Bu sistem geni\u015f \u00f6l\u00e7\u00fcde benimsenmi\u015f ve Bat\u0131 notas\u0131 yerle\u015finceye kadar XIX. y\u00fczy\u0131l boyunca nota yaz\u0131m\u0131nda kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n
N\u00e2s\u0131r Dede\u2019den sonra m\u00fbsiki nazariyat\u0131na dair \u00e7al\u0131\u015fma yap\u0131lmam\u0131\u015f, XX. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda bu eksikli\u011fi hisseden Yenikap\u0131 Mevlev\u00eeh\u00e2nesi \u015feyhi Mehmed Cel\u00e2leddin Dede, Galata Mevlev\u00eeh\u00e2nesi \u015feyhi Mehmed At\u00e2ullah Dede ve Bah\u00e2riye Mevlev\u00eeh\u00e2nesi \u015feyhi H\u00fcseyin Fahreddin Dede T\u00fcrk m\u00fbsikisinin tarihi, bu m\u00fbsiki sisteminde yer alan perdeler, aral\u0131klar, makamlar ve usuller \u00fczerinde \u00e7al\u0131\u015fmalar yapm\u0131\u015ft\u0131r. Ancak bu \u00e7al\u0131\u015fmalar yaz\u0131l\u0131 bir metin haline getirilememi\u015f, eldeki bilgiler Rauf Yekt\u00e2 Bey ve M. Suphi Ezgi\u2019ye intikal etmi\u015ftir. Daha sonra aralar\u0131na H\u00fcseyin Sadeddin Arel\u2019i de alan Rauf Yekt\u00e2 ve Suphi Ezgi, nazariyat konusunda \u00e7al\u0131\u015fmalar\u0131n\u0131 geni\u015fleterek makaleler ve m\u00fcstakil eser halinde yay\u0131mlam\u0131\u015flard\u0131r; bunlar g\u00fcn\u00fcm\u00fczdeki T\u00fcrk m\u00fbsikisi ses sisteminin ilk ad\u0131mlar\u0131n\u0131 olu\u015fturmu\u015ftur. Salih Murat Uzdilek\u2019in de bu \u00e7al\u0131\u015fmalara kat\u0131lmas\u0131yla bug\u00fcn \u201cArel-Ezgi-Uzdilek sistemi\u201d veya \u201cArel-Ezgi sistemi\u201d olarak adland\u0131r\u0131lan sistem ortaya \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n
G\u00fcn\u00fcm\u00fczde kullan\u0131lan Bat\u0131 notas\u0131n\u0131n T\u00fcrk m\u00fbsikisine uygulanm\u0131\u015f \u015fekli olan nota yaz\u0131s\u0131na temel al\u0131nan, bir 8\u2019li i\u00e7erisinde 24 e\u015fit olmayan aral\u0131\u011f\u0131n yer ald\u0131\u011f\u0131 25 perdeli bu sistemin ilk teorik a\u00e7\u0131klamas\u0131n\u0131 Rauf Yekt\u00e2 Bey yapm\u0131\u015ft\u0131r. Arel-Ezgi sisteminin bir di\u011fer \u00f6zelli\u011fi de \u00e7\u00e2rg\u00e2h makam\u0131n\u0131n ana dizi olarak kabul edilmesidir. Ayr\u0131ca bu sistemde Bat\u0131 m\u00fczi\u011fi sisteminde bulunmayan seslere ait baz\u0131 yeni i\u015faretler (de\u011fi\u015ftirme i\u015faretleri) bulunmaktad\u0131r. XX. y\u00fczy\u0131lda ses sistemiyle ilgili \u00e7al\u0131\u015fmalar\u0131yla tan\u0131nan di\u011fer iki \u00f6nemli isim Abd\u00fclkadir T\u00f6re ve M. Ekrem Karadeniz\u2019dir. Ana esaslar\u0131 Abd\u00fclkadir T\u00f6re taraf\u0131ndan belirlenen ve 41 aral\u0131kl\u0131 bir dizi temeline dayanan bu sistemi Ekrem Karadeniz, T\u00fcrk M\u00fbsik\u00eesinin Nazariye ve Esaslar\u0131 (Ankara 1983) adl\u0131 eserinde a\u00e7\u0131klam\u0131\u015ft\u0131r (Osmanl\u0131 d\u00f6nemi m\u00fbsiki \u00e7al\u0131\u015fmalar\u0131 ve faaliyetleri i\u00e7in bk. OSMANLILAR [M\u00fbsiki]; Cumhuriyet sonras\u0131 T\u00fcrk m\u00fbsikisi \u00e7al\u0131\u015fmalar\u0131, ses sistemi ve \u00e7e\u015fitli faaliyetler i\u00e7in bk. T\u00dcRK\u0130YE [M\u00fbsiki]).“<\/p>\n
https:\/\/islamansiklopedisi.org.tr\/musiki<\/p>\n","protected":false},"excerpt":{"rendered":"
OSMANLI 1773 \u0130slam da musiki yasakm\u0131\u015f\u2026 \u00d6yle diyor Taliban\u2026 Resmetmek\u2026 Cahil k\u00f6pekler, kendi dinini bilmeyen\u2026 Peygamber Efendimizin \u00fcmmetinden olamaz! „M\u00fbsiki (m\u00fczik) kelimesinin kayna\u011f\u0131 hakk\u0131nda de\u011fi\u015fik g\u00f6r\u00fc\u015fler aras\u0131nda en yayg\u0131n olan\u0131 Latince musicaya dayand\u0131\u011f\u0131n\u0131 ileri s\u00fcren g\u00f6r\u00fc\u015ft\u00fcr. Eski Yunanca\u2019daki mousik\u00e9den (mousa) geldi\u011fi kabul edilen musican\u0131n k\u00f6k\u00fc ise m\u00fcz (muse) kelimesidir. Yunan mitolojisinde Tanr\u0131 J\u00fcpiter\u2019in Tanr\u0131\u00e7a Mnemosyre\u2019den … <\/p>\n